2023-03-29 18:11:16 by ambuda-bot
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APPENDIX
335
the object of comparison; in effect, a vikriyā upamā; as: "she of the
intoxicated glance was looked at by the calm eyes of lotuses".
pūrvarūpa (76): a tadguna followed by reappropriation of the lost
quality; as: "though blue in reflection of Siva's neck, you regain
whiteness from your own glory" (addressed to Pārvati).
pratyakṣa (108): the mīmāņsaka pramāṇa 'perception' (Appayya appends
to the Candraloka of Jayadeva 17 figures, 10 of which are poetic
applications of pramāṇas 'modes of true apprehension' or quasi-
pramāṇas such as aitihya, "tradition', admitted in the mīmāmsā. This
innovation probably dates from Bhojarājā; as: "the five senses
attain perfection [in the presence of this liquor, reflecting the
beauteous faces of young women, smelling of fresh sahakära blooms,
sweet tasting, surrounded with buzzing bees, and cool".
prastutāūkura (28): a relevant subject illuminates another relevant subject
(instead of an apparently irrelevant subject; a variety of aprastuta-
prašamsā); as: "you have the malati flower, bee! What do you want
with the ketaki, full of thorns?" This seems but a repeated aprastu-
taprašamsă, as the aprastuta-the girl he is wooing in the pleasure
garden-is still obliquely referred to.
praharşana (67): the attainment without effort of a desired goal (id.,
samadhi); as: "even as he thought of her, came a messenger suggest-
ing rendez-vous".
bhāvodaya, etc. (105-107): the dramatic moments of augmenting, diminish-
ing, and muting an emotion. A late reaction showing an attempt to
figurize the rasa theory. Cf. Ohv. 2.3.
mithyādhyavasiti (65): an arthäntaranyasa in which an impossible
proposition is justified by another impossible proposition (cf.
nidaršanā (II)); as: "he who would gain the fidelity of a prostitute
does indeed wear the celestial lotus".
ratnāvali (74): the use of several descriptive epithets, each suggesting a
different object of comparison (in effect, a mala samāsokti); as:
"O King, you are of clever mien [four-faced], the master of good
fortune [husband of Lakşmi], knowledgeable [omniscient]" (refer-
ences are to Brahmā, Vişņu, and Rudra).
lalita (66): the description of a similar situation (id. anyokti); as: "now
that the water has flowed away, she seeks to build a dam" (she
seeks to restrain a lover already bound to another).
vikalpa (54): a virodha determined as a choice; as: "bend, O Kings, either
your heads or your bows!"
vikasvara (62): an arthäntaranyāsa in which the justification is stated as a
335
the object of comparison; in effect, a vikriyā upamā; as: "she of the
intoxicated glance was looked at by the calm eyes of lotuses".
pūrvarūpa (76): a tadguna followed by reappropriation of the lost
quality; as: "though blue in reflection of Siva's neck, you regain
whiteness from your own glory" (addressed to Pārvati).
pratyakṣa (108): the mīmāņsaka pramāṇa 'perception' (Appayya appends
to the Candraloka of Jayadeva 17 figures, 10 of which are poetic
applications of pramāṇas 'modes of true apprehension' or quasi-
pramāṇas such as aitihya, "tradition', admitted in the mīmāmsā. This
innovation probably dates from Bhojarājā; as: "the five senses
attain perfection [in the presence of this liquor, reflecting the
beauteous faces of young women, smelling of fresh sahakära blooms,
sweet tasting, surrounded with buzzing bees, and cool".
prastutāūkura (28): a relevant subject illuminates another relevant subject
(instead of an apparently irrelevant subject; a variety of aprastuta-
prašamsā); as: "you have the malati flower, bee! What do you want
with the ketaki, full of thorns?" This seems but a repeated aprastu-
taprašamsă, as the aprastuta-the girl he is wooing in the pleasure
garden-is still obliquely referred to.
praharşana (67): the attainment without effort of a desired goal (id.,
samadhi); as: "even as he thought of her, came a messenger suggest-
ing rendez-vous".
bhāvodaya, etc. (105-107): the dramatic moments of augmenting, diminish-
ing, and muting an emotion. A late reaction showing an attempt to
figurize the rasa theory. Cf. Ohv. 2.3.
mithyādhyavasiti (65): an arthäntaranyasa in which an impossible
proposition is justified by another impossible proposition (cf.
nidaršanā (II)); as: "he who would gain the fidelity of a prostitute
does indeed wear the celestial lotus".
ratnāvali (74): the use of several descriptive epithets, each suggesting a
different object of comparison (in effect, a mala samāsokti); as:
"O King, you are of clever mien [four-faced], the master of good
fortune [husband of Lakşmi], knowledgeable [omniscient]" (refer-
ences are to Brahmā, Vişņu, and Rudra).
lalita (66): the description of a similar situation (id. anyokti); as: "now
that the water has flowed away, she seeks to build a dam" (she
seeks to restrain a lover already bound to another).
vikalpa (54): a virodha determined as a choice; as: "bend, O Kings, either
your heads or your bows!"
vikasvara (62): an arthäntaranyāsa in which the justification is stated as a